Passaics

Passaics is the first consciously embedded social media essay I performatively posted, Christmas Day 2014. It takes as it's departure point a Brian Dillon essay about recreating Robert Smithson's 1967 pilgrimage to Passaic, New Jersey.

In #briandillon 's titular essay from the collection objects in this mirror ( #sternbergpress ) he uses the 1967 pilgrimage of land artist #robertsmithson to his hometown of Passaic, New Jersey as a starting off point for a brilliant meditation on the psycho-spatio-temporal elements which constitute the conversing with history vis-a-vis artist pilgrimage. Undertaken in the essayistic tradition of open experimentation and frank documentation Brian recreates Roberts journey to the best of his ability. I wish Brian included more photographs in his piece, not only because it's apropos of his progenitorial interlocutor but because to not do so seems regressive now. I'm compelled to respond to this essay by visiting Passaic in a timespace suited to my present condition. Passaic via Internet. Passaic via Robert via Brian via Internet via perry #passaics

Tropical club de Passaic #passaics

Bargain man. This couldn't be the one you meant Brian. I took a wrong turn #passaics

Beautiful picture of Robert #passaics

Lexington ave #passaics

High school football star ausar walcott was charged with attempted murder for punching another young man in the head #passaics

#vanessablaylock did a smithsonesque journey back through blue mars, a massive multiplayer virtual world inspired by a vision of the future when the power to #terraform whole worlds is in our grasp #passaics

Photograph shows federal ironclads weehawken, montauk and Passaic during combat by a confederate photographer at fort sumpter on September 8th 1863. This is the first known civil war combat photo taken with the photographer actually under fire. From the library of congress. #passaics

Some of Roberts pictures #passaics

The wright brothers #passaics

Passaic skies July 29th 1952 #passaics

Passaic river #passaics

The absence of the bank building, says Brian, from the text of "the monuments of Passaic" is doubly strange. In their febrile rehearsal of the monumental styles of the past, and in their obsessive recourse to the mirror as the main element in interior decoration, they are examples out of time "that extends forever into the future through the past. Nothing is new, neither is anything old." #passaics

59 Howard ave #passaics

I could refer to this bridge as a monument of dislocated directions #passaics

The bus passed over the first monument. I pulled the buzzer cord and got off at the corner of union avenue and river drive. #passaics

Passaic county sheriff #passaics

The soundtrack of my trip is le souffle court by #michelchion #passaics

A view of the falls on the Passaic in 1755 engraved by #paulsandby after sketches by #thomaspownall #passaics

Main ave #passaics

#entropology and we all is the entropologist #passaics

Trough being the operative word here for this suiform behavior #passaics

To what point may be carried that patience of man, who is determined to conquer nature said an eighteenth century traveler said Brian said perry. Brian continues says perry the landscape seems to have come to a kind of weird organic accommodation with the poison. life, of a sort, carries on... #passaics

Who's story is this? #passaics

When I think of Passaic I think of Brian Dillon thinking of Robert Smithson in a series of photographs of spiral jetty, walking the lines of his sculpture, striking out onto the unstable promontory, accepting its austere invitation, then spiraling toward the last inward curve, towards the void (autocorrect: good) and #georgesteinmetz and corrupt cops and violent high school football players and confederate soldiers and ufos and deco buildings filled with mirrors and terraforming blue mars and entropology and the sweet boy hugging his grandmother #passaics

any name #passaics

Passaics, conceived and realized over the course of Christmas Day 2014, was a kind of breakthrough moment (autocorrect: mom enememy) for Perry. It marked the application of a more formal structure to embedding projects or chapters into his continual production of post-memoir. It was around this same time he decided to take the means of production of criticism into his own hands. Committed to keeping his work public and accessible via participation in networked technologies he uses metadata as a means to code himself into the digital DNA of the #art canon. Passaics took the form of a metarelational response to Brian Dillons (autocorrect: diploma) objects in this mirror essay (sternberg 2014) which recreates Robert Smithsons 1967 pilgrimage to Passaic, New Jersey. Perry explores themes covered by both prior artists and new mediums for the continuation of this conversation. Using google maps, search and several image archives, Perry visited many of the time and space locations of note in Passaic via a new dimension. Also around this time Perry adopted the habit of including his word processors erroneous autocorrects as an artificially intelligent counter-narrative to his writing. This embrace of digital caprice and malfunction had already become characteristic in his work. #passaics